* It’s funny: My first instinct upon seeing Michael Shannon’s enormous moon face at the door, delivering flowers and punching faces, was to say “Agent Van Alden broke bad.” But he’s always been bad, right? A powder keg that exploded and drowned his partner for being both crooked and Jewish. But the character’s been drawn…inconsistently, I think is actually being charitable about it, so it’s somehow easy to look at his current predicament as a fallen-man situation, when of course he never had far to fall to begin with.

* “Too old to hunt. Pretty much blind. Can’t even smell. Senile. Stares at me sometimes like I didn’t raise him from a puppy.” Emma Harrow describes the great terror of all the men on this show: outliving their usefulness.

* “Orphaned in April, married in May, pregnant in August, widowed in November.” Maybe it’s just seeing Dennis Lehane’s name in the writer’s credit, but boy this episode had some cracking dialogue.

* The Chessmen of Mars. Oh Richard, please get into SF.

* The rattling of the cup, the focus on the sight and sound of it, the sense you get that this is a very expensive cup on a very expensive saucer, containing very expensive coffee…this is the kind of detail at which this show excels, and which it can use to drive home information about the emotional state of the characters, in this case Eddie (and Nucky). “Everything is ‘only something,'” Eddie says, and that’s true, but on this show, everything is something.

* The elder O’Banion’s one of the few cases in which I think the casting plus the period voice equals a miss rather than a hit on this show. Nice to see Finn from The Sopranos, though.

* Chalky’s son-in-law’s dad’s voice is lovely. More on that later.

* “Mr. Thompson is in everything. He is in the sky and sea. He is in the dreams of children at night. He is all that there is, forever.” DARKSEID IS

* Okay, so, Richard’s big killing-his-way-to-the-top mission was, what, a favor he’s doing for a fellow vet he met on the train? Is that the gist of it? It’s rare that a plotline confuzzles me on these shows, and rarer still that I’d go public with it if it did — it always baffles me, the way people who are paid to be smart about these things crow about not being able to tell characters apart and stuff like that; wiki it, folks — but I’m a little lost here.

* Ha, the head Prohi is crooked now. Did we know that?

* Chalky Ascendent. I liked that whole entrance-into-the-club sequence, even if you knew it’d go sour the moment that gladhanding doofus who always shows up at the wrong time and is obliviously happy showed up and rubbed his head. Chalky’s earned five minutes of enjoyment.

* Enter Doctor Narcisse, aka Jeffrey Wright with a Marvel Comics villain name and a Trinidadian accent. Man, this show really is voice porn, isn’t it? I could have listened to him go line for line with Chalky all night. Maybe Stephen Root could pop in once in a while to do his demented Foghorn Leghorn now and then.

* Now I’m just going to write down some more dialogue.

* “You wish to leave it at this?” “I ain’t pick it up in the first place.”

* “One looks down in secret and sees many things. You know what I saw? A servant pretending to be a king.”

* “Respect. I wish you to demonstrate it. [Nucky gives Eddie an envelope full of cash] This is beneath you.” “I’m not sure that it is.”

* “Are you quitting or asking for a promotion?” “This will be for you to decide.” (And with that, Eddie leaps right into the deep end of the Season Four dead pool, alongside Nucky’s handsome nephew.)

* Richard can’t kill anymore. I think maybe the pacing of this was bobbled a bit? Like, if I were him, I’d have finished the job before visiting my sister, wouldn’t you? So it’s weird that we see him go all Terminator on two dudes, then visit his sister, then go “oh yeah, I’ve got one last Terminating gig to take care of,” and then he freezes.

* I would not have put it past the show to see the bullet hit the dog, by the way.

* “Dat schemin’ mick fuck.” I giggled with delight, hearing that line. Gangsters!

* Chalky and Dunn need a bottle episode like “Pine Barrens” or “Fly.” I want to watch Williams and Harvey glower and growl at each other for an hour.

* Yessssssssssss Stephen Root, christ, what a voice. “I’d say your Agent Knox is a hayseed of the purest variety.” I want to make that my ringtone.

* Nuck’s got an instinct about Knox, though. That’s a good sign, especially given how grim it is that his secret completely eluded Root’s fixer character.

* Van Alden growls during the attack on the Democratic rally. He didn’t used to be comic relief, remember?

* Does Chalky take Nucky’s gift of 10% of the club to Narcisse as an insult, or will he write it off as the cost of doing business? Will the lynching of the woman who caused the trouble affect either of their POVs on the transaction?

* Acting Director Hoover!!!!!!!!!!!!!! hahahahahahaha, sure, why not, Boardwalk Empire. I like the introduction of J. Edgar as a pint-sized martinet in a back room.

* “A thing mixed is a thing weakened.” “Is that from the Bible?” “That’s from me.”

* I’m glad you didn’t get the shot of the feet after the lynching, by the way. You know the one — the shot where we see the car drive off and we pan over and up and her feet are dangling. I mean, it turns out they just choked her to death, they didn’t hang her, but still. Leave it unseen.

* Eddie’s breaking bad, haha

* Who’s trying to lure Richard? Does this “Carl Billings” quest have anything to do with Emma being in the red?

* What a shame this show launched opposite the final four episodes of Breaking Bad. I gather HBO doesn’t care when you watch it, as long as you do watch it, but buzz is based on that initial airing, no?

Read my review of this past Sunday’s Breaking Bad, ye mighty, and despair. Certainly that was the case for dozens upon dozens of commenters.

NEW YORK SOUR

* Before I say anything else, please go read Ryan Leas’s piece on Boardwalk Empire for Salon, by far the best writing on this show I’ve ever seen. Alone out of the professional critics I’ve seen tackle this show, most of whom appear to be imagining themselves at a cool kids’ table with David Chase and Matthew Weiner, gleefully refusing Terence Winter a seat, Leas gets what the violence and spectacle of this show are, what they mean. It’s not the show trying and failing to to have taste.

* Anyways:

* Aw, that poor gas-station guy from No Country for Old Men. All he does is get menaced during monetary transactions with professional killers.

* Richard Harrow emerges silently, retreats into the darkness.

* Dunn Purnsley! He’s a main character now? Or is he just the germinative incident for the Chalky White storyline? Either way, I am so deeply glad to see Erik LaRay Harvey get more screentime, in a season premiere no less. That is a very odd, very magnetic performance, made more so by the beaten-in eye socket make-up.

* Hey, Nucky’s German factotum (thanks, Cicero Daily Tribune!) survived! This is just the first of the Season Three finale cliffhangers resolved in fairly short order this episode: Rothstein’s not in prison from Nucky’s frame-up using the treasury secretary’s distillery; Masseria’s willing to meet and forget the massacre of his men post-truce; even Rosetti’s right-hand man is allowed to come back to A.C. for the meeting.

* I’ll never not be enough of a mafia nerd not to be thrilled any time I’m watching a scene in which Joe Masseria, Lucky Luciano, Arnold Rothstein, and Meyer Lansky are characters.

* I sure would like it if there’s a Lucky/Meyer break-up-to-make-up storyline this season. That’s this show’s great undying romance, after all, if history is any indication. (Spoiler alert for non-mafia nerds?)

* “All of man’s troubles come from his inability to sit quietly in a room by himself.” I think this might be true! Out of the mouth of Rothstein, man. (Hat tip to Jim Henley for reminding me of the genius of “Flip a coin. When it’s in the air, you’ll know what side you’re hoping for.”)

* Michael Stuhlbarg’s Rothstein echoes Eddie Cantor in some way, doesn’t he? Pale pancake-makeup complexion, studied speech pattern — a performance by a performer who’s become his character. You can’t spell “vaudevillian” without V-I-L-L-I-A-N.

* Nuck at the window. Lots of conspicuous framing of Nucky overlooking things this episode.

* Leander is Gillian’s lawyer, lol.

* Hey, the Sigorskys are still around. That’s rad. I thought the saga of Jimmy’s little boy would be over, and that Richard’s girlfriend and her PTSD father would be gone with him. I hope there’s more thread to tug at there.

* Was Eli’s son hot last season too, or is this new?

* Mickey Doyle is back on my television. Truly this is the most wonderful time of the year.

* How soon did you see Agent Knox coming? Something was up with the guy, that was clear when he took that lingering look at the payoff money changing hands, but it took me until his next scene to realize what he was.

* Fuck “cellar door” — “Cicero, Illinois” makes my heart sing like no other two-word English phrase.

* Hey, it’s Herc from The Wire!

* “He gets my fuckin’ name wrong??”

* Actual note written down: “YESSSSS Eddie Cantor!” NERD

* Nuck loves the showgirls, huh. What’s up with that? I mean, I guess obviously they’re reliably attractive and relatively liberated. But are we to read into their nature as performers, entertainers, actors, dissemblers-for-hire?

* Gillian Darmody is, indeed, “quite the scene-painter.” Aaaaand she’s a junkie, and a whore. I’m still capable of feeling very, very bad for Gillian, the Cersei of New Jersey. As they made a very welcome effort to point out after that incredible Season Three climax’s smoke cleared, Nucky has an awful lot to answer for in terms of how she became what she is.

* The scenes with Richard on the hunt for…whatever he was on the hunt for regarding the insurance company were great, but as I guess is clear from this sentence I have no idea what that was. Maybe we’re not supposed to know. The episode is structured to make it look like he was trying to find his sister, but that doesn’t exactly square with, you know, killing his way there. Separate missions?

* Don’t stop fighting for the cherry and the white, college boy. I don’t think things will go well for you otherwise.

* Los Bros Capone

* “Yes, boss.” Christ. Nauseating scene, amazingly good at making the viewer feel Dunn’s helplessness, loathing, and rage. I knew exactly what he’d be getting himself into and didn’t care. I just wanted to see him stab that guy to death, in that moment. You want a show that addresses race, critics who cover the Mad Men beat? Good god. Ran right at the most noxious shibboleths of anti-black racism with a broken bottle. Right at the end of the sexiest scene in the show’s history, too, I think. Wow.

* Right, so, this next scene was where it became clear that our new agent setting the old agent up.

* Back to Dunn, now with Chalky and Nucky and Eli. I like how unwilling he is to own up to wrongdoing. He was being raped.

* The steel blue gray of that burial scene. Wow.

* Ron Livingston, I presume?

* It’s just a split second, but I loved the beat where Gillian realizes he’s not in it for the prostitution. Gretchen Mol is usually as heightened as her Lady Macbeth archetype calls for, as are a lot of the performers on this show, but that was really subtle and really strong work.

* Roy Phillips. Piggly Wiggly. Big Business.

* Outrageous splendor of the shots of that Cicero Daily Tribune office, for no good reason.

* “I don’t want anyone else’s grief.” Aw Nuck. Good luck with that.

* Chalky front and center, at least so far.

* “Bring on the dancing girls.” The Onyx Girls in a post-Miley era. “Deliciously primative.”

* Agent Knox:Boardwalk Empire::Todd:Breaking Bad

* “Albatross Hotel. Transients welcome. Closed.”

* “Big hauls down here. Come and see. McCoy.”

* “Hello. I’ve come home.” Keep making Richard Harrow a myth, Boardwalk Empire.

I reviewed tonight’s episode of Breaking Bad for Rolling Stone.

It was something.

I interviewed Bob Odenkirk, aka Saul Goodman, and reviewed the most recent episode of Breaking Bad for Rolling Stone.

I reviewed tonight’s episode of Breaking Bad for Rolling Stone. How about that guacamole?

Last week I interviewed Dean Norris, aka Hank Schrader, for Rolling Stone. This week I reviewed the latest episode of the show. Usually I post quotes from these things but we’re so close to the end now that I’m afraid to screw anything up for anyone, so take my word that they’re worth reading, I guess.

I reviewed tonight’s Breaking Bad premiere for Rolling Stone. I start with a Donald Rumsfeld quote and include a Red Wedding reference, because that’s me all over.

I’m back on the Breaking Bad beat for Rolling Stone during its final eight-episode run. I decided to kick things off with a list of 10 times people on this show killed other people on this show in ways I found difficult to forget. Oh, life.

* In the first shot of the episode, the new SC&P logo obscures Don’s face.

* Very autumnal color scheme. Welcome to the Fall.

* Stan has ambition! “That’s not the way I saw it.” “That’s not the way you saw me.” Poor guy finally takes the risk of peeking out from behind his beard (remember he was the one who advised Peggy not to hire Ginsberg precisely because his obvious ambition was worrisome) and this is how he gets repaid.

* Roger: “You learn more from disappointment than you do from success.” This should really be the motto of this show w/r/t its critics.

* Don: “I love Hershey’s.” Add that to the list, right underneath “puppies.”

* You know, Roger had a nice little hot streak here at the beginning of the episode. “It’s all fun and games till they shoot you in the face”; “Bob Benson’s here to see you.”/”Really?”…Roger truly is one of the funniest characters on television, and it makes him palatable to us just like it makes him palatable to the other characters.

* He does have his flashes of insight, though. Sussing out that Bob’s got ulterior motives is good old-fashioned accounts-man people-reading.

* So Sally got into that school and is already half a semester in. I guess that’s plenty of time to learn how to mercilessly subtweet your dad on the phone.

* I never really picked up on the idea that Don’s drinking this season is unusually heavy. That was evident back in season four, after the divorce and before Megan, but here, I dunno, it went over my head. But of course we’ve seen him drinking alone in a bar probably half a dozen times in 12 hours.

* This final drinking-alone-in-a-bar scene is tied to the original by Vietnam. Don’s content to dress down the preacher until the guy insults RFK and MLK and slain soldiers, one of whom (or so Don’s subconscious believes) he helped get married in Hawaii. Don’s conservatism is clearly the part of his post-Korea constructed persona he’s put the least energy into maintaining, and he’s repulsed by violence wrought against people who weren’t asking for it. So he insults Jesus a couple times, calling him a Nixon voter and/or a guy with a pretty sloppy handle on things, and then whiteknights for the fallen by assaulting a minister and winding up in the drunk tank. The social upheaval of 1968, poured into a tumbler and served straight into Don Draper.

* Those autumn colors really made it look like the walls were closing in around Peggy as Ted and his family parade through.

* Megan in white.

* Don’s lost control again…so he wants to move to California??? Given that I had every believe he’d actually do so, and that the big shock to which this season was building was that the final season of Mad Men would take place in Los Angeles, I was quite stunned by this. But I shouldn’t have been. Don’s always trying to recreate the magic of his West Coast sojourns. And that he’d just done so, so unsuccessfully, three or four episodes ago should have been all the indication I needed that he wasn’t gonna pull it off this time.

* Not only does he steal Stan’s idea, he plagiarizes his description of it. It’s “the cure for the common breakfast” all over again. (Maybe that’s why we got a glimpse of Danny again in the California episode.)

* That final shot of Don and Megan hugging each other, ready to make a fresh start — so soapy! Love it.

* Oh my god Manolo killed Pete’s mom.

* It’s only Tuesday, but already Vincent Kartheiser’s line reading for his response to Bob asking him how he’s doing is the stuff of internet legend. “Not great, Bob!” That’s a top-five elevator ride on this show, for sure.

* Peggy looking rrrrrrrrrrrrright. Wow. Love how she obliterated the brown palette of everyone’s outfits with that black and pink thing, too.

* “GM ’69” lol

* Bob standing there with the keys to the car; Pete realizing he’s been beaten before the game even really started. Poor Pete. He tried, he really did.

* The thing about Bob, though: provided you believe Manolo acted on his own, is Bob even dangerous unless someone comes directly at him? Pete was keeping him around as a secret weapon, but do we have any indication he’s up to no good? Left to his own devices, would he become the Don Draper of accounts, phony but legitimately talented and valuable? Or have his attempts to worm his way into Pete and Joan’s lives shown us that there’s something more profoundly troubling about him? (The thing at GM, whatever, Pete brought that on himself, like Don getting Roger stuffed and drunk and walking him up 23 flights of stairs before the Nixon meeting back in the day. I’m talking the potential that he could really hurt someone.)

* If it weren’t for Don’s Hershey’s meltdown, the entire multi-scene Ted/Peggy sequence would be the centerpiece of the episode, maybe the season. It’s not the heaviest thing that ever happened, but it’s one of the most carefully, unflinchingly observed things the show’s done; its sense of humor, drama, and sexiness is really finely tuned. It’s funny that Ted lurked outside her apartment and told her neighbors he’s a cop like that’ll make his presence easier to excuse. It’s funny that when he opens her dress she’s wearing a lacy black bra and when she takes off his jacket he’s wearing a gooberish blue turtleneck. It’s funny that her hot pink lipstick is all over him. (Kudos to the New Yorker‘s Emily Nussbaum for recognizing this as the “Mark Your Man” callback it is.) It’s sexy that he told her he doesn’t want anyone else to have her, and that she gets turned on when he tells her he loves her, and that she looks so good. It’s dramatic that it has this tone of conspiracy, and that he gets right in the shower after it’s over, and that he goes right from one bed to the next. Fine, fine writing and filmmaking, and a payoff for an entire season, and the storyline’s not even over yet.

* Bob killed Pete’s mom and stole his job, at least as far as Pete could tell.

* Part two of the Ted/Peggy storyline also feeds directly into Don’s climactic collapse, and goddamn is it deft. Imagine being someone who literally has to beg Don to save him — especially after this season, in which Don’s reckless, impulsive narcissism regarding business decisions has been smashed in everyone’s face like James Cagney’s grapefruit. “I know that there’s a good man in there,” Ted tells him, and at the moment he says it you just know that a large segment of the audience (certainly a large segment of the portion of the audience comprised of TV critics) thinks he’s just plain wrong. Don says he couldn’t help Ted even if he wanted to (which he already maybe does), then advises him “It will go away,” which I guess he should know, although he failed to mention that having one of your kids walk in on it will help move things along in that regard. Ted replies with the most telling and gutting half-sentence in the history of the show: “My father was–” half-second pause, doesn’t miss a beat “You can’t stop cold like that.” And suddenly Ted makes sense: the slightly manic optimism of his pitches, his oedipal relationship with Don, his abject horror about himself and Peggy. He’s an adult child of an alcoholic, and he knows what addiction can do to a family.

* Now we’re at the Hershey’s pitch. Don’s in control, but we know something’s wrong, because we know he’s bullshitting, and his best pitches don’t bullshit. The Carousel pitch is the classic example, but think back to all his man-who-wasn’t-there pitches from earlier in the season. He may not have known it, but he was telling the truth in them, about who he is, about what he wanted. Now? “My father tousled my hair. his love and the chocolate were tied together.” Fuck outta here. “Hershey’s is the currency of affection,” says the son of a whore, raised in a whorehouse, deflowered by a whore. “The childhood symbol of love,” says the boy who saw hobos symbolize his father with the mark of a dishonest man, who was beaten and hated. “Sweet tales of childhood” is the angle for the ad, and Don’s got the shakes.

* Then he gets real. Holy shit. What does Hershey’s really taste like? The life of orphans whose caretakers want them around, of families that are real, glimpsed in a magazine left on the toilet by prostitutes. It tastes like “being wanted.” It’s something purchased with money stolen from johns, then eaten “alone, in my room, with great ceremony, feeling like a normal kid.” It tastes like something worth destroying this client relationship for, because he wouldn’t want to sell it anyway, it’s too special, and people already know what it tastes like anyway. Ted certainly knows, and Don won’t take it away from him, at long last.

* So yeah. Wow.

* “To bring your mother’s killer to justice?” “Ballpark.” The brothers Campbell, ladies and gentlemen. “She loved the sea.” You assholes. Wow, this is a magnificent Pete episode, and it’s not even over.

* “The world out there…I have to hang on to them or I’ll get lost in the chaos.” There but for the grace of Don goes Ted Chaough.

* “Aren’t you lucky. To have decisions.” Yet who winds up in Don’s chair, in Don’s office, striking Don’s pose? Hope springs eternal, Peggy Olson.

* “FUCK the agency. I quit my job!” Megan doesn’t have decisions either. Well, she has one, and she makes it. We’ll see if it sticks.

* Pete’s free. “It’s not the way I wanted it.” “Now you know that.” Decisions aren’t all they’re cracked up to be. And yeah, beautiful, beautiful Pete episode.

* Don getting fired (“fired”) is something I saw coming but never said I saw coming so it doesn’t count for you but man I feel smart about it. But yeah, that guy was just fucking up left and right. Missing Sunkist, tanking Hershey’s, screwing up the public offering no matter what else he did right at the time, all those blown pitches, MIA half the time, making life miserable on purpose for at least one partner and the chief of copy…He had to go. It spoke well of Joan and Roger, and even Jim and Bert, that they looked unhappy about it.

* Let’s add Duck Phillips to injury, sure, why not.

* Bob in an apron with a knife hahahahahaha

* I like Roger’s tweedy jackets, like a Rat Pack grandpa.

* “This is where I grew up.” The poverty that haunted the season in flashbacks and in riots is stared in the face. A little boy eats a popsicle, melting, as Mad Men has told us before, with every second. Sally looks at Don, and maybe sees him for what he is. The end.

* That was a quietly incredible episode, one that tied everything together in unexpected ways, making everything feel meticulous but not like the innards of a clock. I love this show.

My weekly column for Wired on Mad Men as viewed through the lens of its ad campaigns is up. This week: the season finale, Hershey’s, and the Carousel pitch played backwards.

* Jump cuts as Megan awakes without Don. You know, it’s just pleasant to see filmmaking, sometimes — the things that remind you of when you first became aware that the stuff on screen was the result of choices people made. And thanks to Scorsese I’ll always be a sucker for jump cuts within a single set of physical actions in a single physical space.

* Don curled up in…Bobby’s bed, or Sally’s? Either way.

* Lots of dark red in this episode so far. Uh-oh. Worse than the telltale orange, the eldritch salmon, of the last season?

* OH MY GOD KEN COSGROVE

* Seriously, I thought that was it. I thought they’d killed him. I’ve seen at least one critic scoff at that reaction, saying that’s not how the show works, but the show’s unpredictability is part of how the show works, of course. And dropping Kenny in the first few minutes is very Sopranos, too.

* Wow, that Nixon ad really directly presaged, or at least paralleled, the release of Night of the Living Dead that same month, didn’t it? Mayhem in black and white. Things fall apart.

* Don and Betty seem to be getting along great since their one-night stand. Maybe that cleaned the wound, I don’t know. Knowing these two I doubt it’ll last.

* Speaking of getting along great, Ted and Peggy are thick as thieves. I guess his blow-off didn’t take. Perhaps he redoubled his efforts after spotting Peggy’s rapport with Pete during their trip to Ocean Spray bog country.

* “You finally found a hooker who takes traveller’s checks?” “…why did I tell you that.” The open mocking of Harry to his face is endlessly entertaining, particularly since he’s actually good at his job — the partners just can’t help themselves anyway, such is their contempt for him.

* Rosemary’s Baby is back! (I really thought it was NotLD at first, but I’m not sure how many swanky midtown theaters that played in.)

* Don’s gonna fuck Ted because Ted’s fucking Peggy. (Or is he? I guess it’s not crystal clear. Actually it’s unlikely. But the principle is the same.)

* For the record, I share Don’s skepticism about using Rosemary’s Baby to sell children’s aspirin.

* Glad to see Ken escape death with just a faceful of buckshot. Glad to see someone, anyone draw a line around unacceptable conduct and refuse to cross it for love or money.

* I’d probably have been a much worse sport about the Sunkist/Ocean Spray switcheroo than Ted was, three times the business be damned. Did he know even then what was up? Is it just me, or is the irony here that Don would never have thought of screwing with Ted on purpose if Ted hadn’t already accused him of doing so when in fact he was only doing it accidentally?

* “I once had a client cup my wife’s breast.” The formalism of Jim Cutler. “Lee Garner Jr. made me hold his balls.” The ribaldry of Roger Sterling.

* So the Ted situation causes the Bob/Pete/Chevy situation, insofar as Sterling and Cooper join forces with Cutler to force a Cutler protégé on the account as a make-good.

* “You should watch what you say to people.” Uh-oh. Dark Bob. Pete, I fear you’re being out-operated.

* “I wanna be a grown-up, but I know how important my education is.” The education of Sally Draper continues.

* Sad lol at Duck Phillips still kinda implying he wants to work at SC&P. Nod of approval at Pete trying to get Bob headhunted out of his hair.

* Dark Bob en español! What exactly was he encouraging Manuel to do?

* I guess for the record I need to note Don’s baby impression and Joan’s yenta impression. They were funny. But mostly I was still wrapping my head around using Rosemary’s Baby to sell children’s aspirin.

* Seriously — surely the fact that that movie is really really scary, and that it invokes Satanism, was enough to make it kind of toxic for this kind of thing? Or do our perceptions of the film now stem from what we know about Roman Polanski and Sharon Tate and Charles Manson in real life?

* “This is as much for you to find out about us as it is for us to find out about you.” Sally’s a quick study, you’ll see, lady.

* “That Spanish fly!”

* I was not happy with the idea of Sally getting hazed. Fortunately it turns out she’s just hangin’.

* And now Don’s murking Ted left and right. Ugly.

* GLEN BISHOP’S BACK! HE’S BALLIN’! HE LOOKS GREAT!

* Loved Duck’s tall glass of milk.

* “I’ve never seen anything like this before.” “…I have.” The show doesn’t traffic in chill-inducers as a rule, but man, what a mighty, mythic exchange that was. Bob Benson, goldbricker.

* Great deep focus shots with Megan and Don. Again, I love filmmaking. Thanks, Orson Welles.

* Aw, Sally gets jilted. And then Rolo gets his.

* “You have to feel the conspiracy,” Peggy tells the client, never suspecting Don’s just sitting there being a conspiracy of one.

* “It’s a little bit personal. In fact it’s very personal.” No shit, Don.

* “This was Frank Gleason’s last idea.” He taints a beloved project even while saving it, dragging Ted’s friend into it, stealing the credit from Peggy. Absolutely brutal. A Draper pitch from hell.

* “C’mon. We’ve all been there. I mean, not with Peggy, but…” So mean! Unnecessarily! Don, Don, Don.

* “You’re not thinking with your head.” Sometimes Don’s lack of self-awareness can be stunning.

* Pete’s confrontation with “Bob Benson” was magnificent. “Well, for one thing, I wanted you to stop smiling.” Pete hasn’t gotten a hero moment like that in…ever? And Bob can’t help but be unctuous even when cornered: “You don’t respond well to gratitude.”

* Here’s the thing about Bob, though: If we believe both his romantic overture to Pete, and his story about how Pete was responsible for “hiring” him, that makes him not just a con man, but…kind of mentally unstable, right? As if the empty office and self-help tapes weren’t indication enough?

* “I’m off limits.” Now Pete has a secret weapon. To wield against whom? Does it matter? He kept the rifle around without ever actually firing it, after all.

* “My father never gave me anything.” Your ability to maneuver came from someplace, Sally.

* “You’re a monster.” I’ve seen a lot of people celebrate this line, this characterization. And obviously it’s true — Don deliberately dismantled people’s happiness in this episode, in a way that reminded me of, say, Tony Soprano deliberately goading his sister Janice into ruining her anger management. But I still feel a great deal of both sympathy and empathy for him, as I do for all the protagonist figures on shows like this, no matter how loathsome they become. They force you to walk a mile in their shoes.

Forgot to post this the other day, but my weekly column on the world of Mad Men as viewed through its ad campaigns is up. This week: Don Draper, Bob Benson, Rosemary’s Baby, and other monsters.

* What an episode. Hilarious and heartbreaking. Best of the season.

* I wonder what it says about this episode that it began with Peggy getting scared by a rat. Like, of all the storylines in this episode, hers was the least immediately consequential, right? So…something about the best-laid plans of mice and men? Preparing for another visit from the rat only made things worse?

* “Not all surprises are bad,” says Roger Sterling as he spontaneously learns to juggle.

* Peggy looked legitimately pleased to meet Pete’s mom. Aw.

* And now it starts getting funny. “Trudy dear, don’t deny him. Don’t reject his caresses. I hope one day you can one day find what Manolo and I have found. I’ve waited long enough to experience the physical satisfaction of love.”

* I wrote down “Bob is a wonderful salesman” and I’m not even sure what I was referencing, but obviously we later reach the limits of this gift.

* “Like everything else in this country, model diplomacy is just an excuse to make out.” Like visiting your son at summer camp, Betty?

* “He can’t spend the rest of his life on the run.” With that take on the plight of Mitchell Rosen, Don admits his own life is untenable.

* How delightful it was to watch Ted, Peggy, and Pete have such a jolly time! Yeah, there’s some jealous moments here and there, but she’s so good in each of their company, and so open even with Pete. “You really know me.” “I do.” A pleasure to watch, particularly compared to the debacle of a California trip that nevertheless netted Roger, Don, and Harry a shot at Sunkist comparable to the one Ted’s group just earned with Ocean Spray.

* And my god, how funny! “Did your father ever give her spa treatments that released a fire in her loins?” “Ohh, ohh, ohhh!” “I don’t even want to think about her brushing her teeth!” “I have never been less afraid of flying in my life.” I was laughing as hard as they were.

* The saddest thing about Don and Arnold’s relationship is what legitimately good friends they could be if things were different. Listen to the ease and articulacy with which Arnold describes to Don the problems in his marriage, the plight of young soldiers, and his love for his own son despite seeing the kid’s imitations. Later in the episode, Ted tells Don that he probably doesn’t have a lot of friends — man, what a waste.

* In a way, Ted’s relationship with his wife parallels Don’s relationship with Arnold. Mrs. Chaough responds to Ted with evident thoughtfulness and concern, accurately seeing how much his work means to him, and which aspects of that work he finds particularly engaging. She just wishes he found her just as engaging.

* Roger on the cost of his trip: “I have a lot of receipts, I haven’t figured it out yet!” Story of his life.

* “Imagine if every time Ginger Rogers jumped in the air, Fred Astaire punched her in the face.” A funny line from Ted, but also a revealing one. That’s how he sees the potential of his and Don’s relationship — Rogers and Astaire, dancing on air. And that’s how he sees Don’s neglect of that relationship — as a deliberate assault.

* “I don’t WANT his juice! I want MY juice!” “It’s all your juice.” hahahahahahahaha

* I feel like I’ve spent a disproportionate amount of the season just writing down great dialogue, but Mad Men is a very funny show!

* To wit: the exchange between Pete and his mother. All these wonderful flavors of humor. Shade-throwing: “I suppose there’s a way I could mistake your tone for concern.” Cringe comedy: “Manny has awakened a part of me that was long dormant. Don’t you think I’m entitled to the pleasures of love?” “Don’t be any more specific.” Mad Men style personality demolitions where you laugh out of shock: “You were a sour little boy, and you’re a sour little man. You’ve always been unlovable.” Chuckling because it’s kind of sad: “I have carfare, and a piece of paper with my address, written in his elegant handwriting.” And Pete hands her her purse. Christ.

* Don, do not fuck up the client dinner with ‘Nam talk, you doofus.

* Somehow I knew the first thing they liked about Mitchell was his ass.

* Of all the things I expected to find in Satan Rizzo’s apartment, a giant poster of Moshe Dayan wasn’t one of them.

* “Maybe I’ll make it worth your while if you come over.” “No you won’t.” Do you think she would have? I kind of wonder!

* Don and Ted’s grand compromise was a marvel to watch. Ted’s obviously making things about him that aren’t about him, which explains Don’s disbelief that scratching his back in this way is all it’ll take to get the favor out of him. Yet Ted also legitimately has Don’s number regarding his self-aggrandizement. “I can’t stop the war, Ted.” “Don’t be an asshole, Don.”

* And how satisfying for Don to affect a rapprochement with Ted, solve the Sunkist/Ocean Spray conflict, rescue Mitchell from his own land-war-in-Asia fate, and do a good deed for his ex-mistress Sylvia without actually even expecting to talk to her about it, all in one fell swoop. But that’s the problem: It was too satisfying. The moment he lit up a cigarette in the middle of his tearful conversation with Sylvia, you knew he was in trouble. He’s back in business.

* Mad Men Presents: Bob Benson Doing Things! “Calm down, sit down.” Bob Benson taking charge! “I did some digging, and — ” Bob Benson doing some digging! “Is it really so impossible to imagine? Couldn’t it be that if someone took care of you, very good care of you, if this person would do anything for you, if your well-being was his only thought, is it impossible that you might begin to feel something for him. When there’s true love, does it matter who it is?” Bob Benson…proclaiming his love for Pete Campbell? Okay, that mystery’s solved. “Tell him I’ll give him a month’s pay. And tell him it’s disgusting.” And he never broke his smile.

* Oh no. Sally. Oh no.

* Sylvia pounding on the mattress.

* Sally witnessing Don doing the thing Don witnessed his stepmother doing.

* Don turning around in the lobby, unsure of what to do. Don wandering out into the street.

* Peggy got a cat! Mrs. Olson, thou art avenged.

* Ted came home. Aw.

* Pete threw a box of Raisin Bran. Man, there’s a lot you can read into that gesture.

* The entire scene at dinner with Arnold and Mitchell was excruciating. Sally gets to see, first hand, that sometimes every other world in an adult conversation is bullshit, and it’s nightmarish. Contrast her reaction here to her world-weary sigh of “dirty” when she caught Roger and Megan’s maman in flagrante. This time it hurt, because the nightmare came from the man who supposedly supported all her dreams. “It’s complicated.” It sure is now. But she kept the secret. She’s her father’s daughter.

My weekly column on the world of Mad Men as viewed through its ad campaigns is up. This week: good surprises and bad surprises.

Was it enough to make up for the tone-deaf moments? I’m not sure. The show’s previously been careful to maintain a heterogeneous look for most of the cultures Daenerys encounters in her travels through the eastern continent of Essos, so the uniformly brown skin tone of the freed slaves worshipping the blondest possible savior figure was surprising and disconcerting – doubly so since, in the books, much is made of just how many different kinds of people had been forced into slavery by Yunkai and then freed by Dany when she took the city. This uncomfortable contrast kneecapped what could otherwise have been the most purely uplifting and cathartic moment in the series so far. Plus it gave the episode its title and was, you know, the final shot of the season – a rough one to go out on.

The “Mhysa” sequence will receive the most scrutiny, and rightfully so, but Dany’s triumph outside the gates of Yunkai came with its fair share of visual and narrative warning signs that we’re not to take it at face value. There’s that conqueror/liberator exchange between Dany and Jorah, which sounded like something you’d hear on a Meet the Press interview with Dick Cheney circa March 2003. The grinning joy on her face was carefully contrasted with Jorah’s concern; yeah, that could have been simply his regret that the khaleesi now has tens of thousands of admirers just as ardent as he, but it can also be read as fear that it won’t all be crowdsurfing and dragon flyovers forever. Add in the separate conversations between Tywin and Tyrion, and Stannis and Davos, about whether the ends (victory in the War of the Five Kings, peace in the realm) justify the means (the Red Wedding, burning some poor kid alive), and I half expected Drogon to be trailing a “MISSION ACCOMPLISHED” banner behind him.

I reviewed the Game of Thrones season finale for Rolling Stone. A compelling, sometimes stunning, sometimes troubling episode.

I had a nice long conversation about two of my favorite shows with one of my favorite critics, Alyssa Rosenberg, on her Bloggingheads.tv show Critic Proof. Topics include the Red Wedding (of course), Catelyn Stark, spectacle and gore, the horrors of war, world-historical events as “monster of the week,” whether character growth is necessary, repetition vs. novelty, and much more. At the link, you can even download an mp3 version if you don’t feel like watching it as a video. Enjoy!

My weekly column on the world of Mad Men as viewed through its ad campaigns is up. This week: Hippies don’t even wear makeup.

* “Not in primetime.” Don sees bad things as important only to the extent that they’re well marketed.

* “I made the biggest mistake of my life.” “I hate actresses.” The truth comes out in jest?

* Is Don still good at his job? This is something Molly Lambert has been calling into question all season long, and I’ve been skeptical of her skepticism, but when the first words out of your mouth when you sit down at a partners’ meeting you forgot was taking place are “Are we done here?”, it makes one wonder.

* What a bunch of babies, arguing about the initials of the agency. I love how long that was drawn out — well past the point of it being a conversation worth having.

* Cutler’s bit about how delay in renaming the agency “will take it out of our hands and leave it up to the world” has the sound of him realizing he needs to take charge of the merger by any means necessary if “his side” is to come out on top, even if he doesn’t realize this is what he’s realizing just yet.

* “Leave the drudgery to Ted Chaough and the rest of the underlings.” Plenty of us-and-them from the other side, too, if Roger’s any indication.

* “Be slick. Be glib. Be you!” Point #1: Roger sure idealizes Don, doesn’t he. Point #2: That’s what the ideal Don looks like to Roger.

* “Our biggest challenge is not to get syphilis.” Boy oh boy, lots of good lines in this episode. It’s a Roger showcase, in part, so that makes sense. Sterling Silver-Tongued rides again.

* Everything about the blow-up between Cutler and Ginsberg was, like, this season in a nutshell — its unique, non-marquee players and conflicts given the spotlight. Stan’s strategic retreat (“This is my stop.”), Ginsberg’s hyperbolic angst, Cutler’s sociopathy, Bob Benson To The Rescue…what a strange little microcosm.

* “WHY ARE YOU ALWAYS DOWN HERE! GO BACK UPSTAIRS!” She doesn’t even go here!

* Yes, you could smell the wood burning as Joan shifted gears from thinking she was on a date to realizing she was on a business dinner, but it was no less satisfying for seeing the gears turn. The woman gave Harry Crane the hard sell, for god’s sake. She’s a professional, and given enough time by herself and by the agency, she’ll be a good professional.

* “You’re not going anywhere.” “I was, but then you appeared.” Cutler had previously attempted to banish BOB, but it is not his custom to go where he is not wanted. “I believe in you, Bob.” Oh, Jim — especially important is the warning to avoid conversations with the demon.

* Does Pete even realize how insufferable he’s become? I get it — he feels he’s Cassandra, and his warnings are going unheeded. But he’s really that oblivious to Joan, with whom he’d appeared to have something of a rapport this season? His tirade at the end of the episode indicates that this has something to do with clinging to the Rules. Perhaps you can see some continuity between this and his reaction to the murder of Martin Luther King earlier in the season: Both events violated the way these things are supposed to work.

* Peggy gives good stank face.

* Wow, Roger and Don and Harry are really staring into the abyss with those wingnut Carnation execs. Who was scarier to you, the cackling “Democrats are over” guy or the fire-and-brimstone “Dutch Reagan is a patriot” guy?

* Adults don’t eat cereal, but hippies don’t wear makeup. The generation gap as demographic research. “What if we were to say we find the conflict unresolvable?”

* “We believe in the wholesomeness of both your intentions and your products,” says Don. The professional is political.

* Joan and Peggy’s relationship may be the trickiest in the whole show, because they were never clear-cut enemies and thus it’s hard to see them as clear-cut friends. Each resents, envies, admires, and enjoys the other in equal measure for different things.

* Bob’s listening to self-help recordings in his decorationless office. WHAT COULD GO WRONG

* Ginsberg, with characteristic calmness: “I’m a thug, I’m a pig, I’m a part of the problem. ‘Now I am become death, destroyer of worlds.'” If this is what he’s like pitching Manischewitz, I’m glad SDCP never picked up Volkswagen.

* Another hasty retreat from Rizzo: “I can’t watch this.”

* And another bizarre, protean performance from Bob Benson. The mystery of Bob is more confounding because it’s not the usual “mystery” where the show headfakes in one direction only to reveal the opposite. It’s not really faking in any one direction at all.

* This is Don’s happening, baby, and it freaks him out!

* My contention is that this Boogie Nights/Austin Powers/Dragnet drug episode/”Mama Told Me Not to Come” Hollywood party was deliberately cartoonish on the part of the show. Danny’s return as a ridiculous homunculus avatar of ’60s LA, the outfits straight out of Hair‘s wardrobe department, the hookah, the pool, the bikini girls, the one-named zoned-out ingenues — if Don nearly collapses in as prefab a version of the counterculture as this, what hope does he have amid the real thing? This despite him being a more efficient mental codeshifter than Roger, who spends the party trying to reenact his bullying of Burt Peterson with a guy who could have hooked him up with Warner Bros.

* Don conjures up a pliant, pregnant, I would assume unemployed/unemployable Megan, and a maimed, dead soldier. These are the kids today, and this is how Don feels when he thinks of them.

* “My wife thinks I’m MIA, but I’m actually dead.” Chills. “Dying doesn’t make you whole. You should see what you look like.” MAJOR chills. That’s a horrifying line. “Man overboard!” Straight-up Rosemary’s Baby dream-sequence “Typhoon! Typhoon!” shit.

* Roger saved Don’s life, so I ship them now.

* “The job of your life is to know yourself. Sooner or later you’ll love who you are.” Through acid, Roger has gotten to know that he is an actual child. He’s perfectly happy about it.

* Good to see Creeper Peggy back in action — now with intercom powers!

* Peggy saves Joan with the power of copywriting.

* SC&P. Pete’s right: Don’s been reeled in without even feeling the hook in the eye.

* I laughed out loud at the final sequence of Pete smoking a joint in slow motion to the accompaniment of Janis Joplin. Pure Scorsese, and in Mean Streets Scorsese was one of the first filmmakers (preceded by Dennis Hopper on Easy Rider, and Kenneth Anger on Scorpio Rising if you wanna go there) to replace a score or original music with found pop songs, just like the exec Don was talking to at the party was talking about. Thank you, Film Studies major, for giving me a good laugh.

The death of an idea can hurt just as badly as the death of a person. People are mortal, after all, and come with an expiration date – it’s the cost of doing business with them. But ideas often have a wider impact than any one person. They’re passed down and passed around, like heirlooms or viruses. It’s easy to convince ourselves that an idea that gives our life meaning will outlast our life, any life, in turn. To lose an idea like that leaves us adrift, with no shore in sight.

I reviewed last night’s Game of Thrones for Rolling Stone.